Bass-baritone Eduardo Chama has received resounding recognition for his work on both the operatic and concert stages of the world. As Don Pasquale, the Seattle Times declares "Eduardo Chama was born to sing the title role. The Argentine bass-baritone...does heroic work on every level." The Calgary Herald agrees, stating after performances of Le Nozze di Figaro, "Argentine bass-baritone Eduardo Chama sang the title role of Figaro in an easy, stylish way, his voice strong and deep enough for the bass notes."
“While Argentine bass-baritone Eduardo Chama handled adroitly his misogynist buffa aria early in the opera, his powerful, scene-closing solo at the end of the fourth act, where he berates Dulcinea’s shallow friends for mocking Don Quixote, gave the production a compelling emotional depth that had been missing all evening.”
San Diego Story
This world-premiere recording of Argentinean composer Osvaldo Golijov: Ainadamar, received the 2006 Grammy Awards for "Best Opera Recording" and "Best Classical Contemporary Composition."
Kelley O'Connor (Mezzo Soprano - Federico García Lorca)
Jessica Rivera (Soprano - Nuria)
Jesus Montoya (Voice - Ruiz Alonso)
Jose Eduardo Chama (Baritone - José Tripaldi)
Sean Mayer (Tenor - Maestro)
Robb Asklof (Tenor - Torero)
Anne Carolyn Bird (Soprano - Voice of the fountain)
Sindhu Chandrasekaran (Soprano - Voice of the fountain)
Gonzalo Grau (Congas)
Jeremy Flower (Laptop)
Adam Del Monte (Flamenco Guitar)
Gustavo Santaolalla (Sound Effects)
William Kanengiser (Guitar)
Andrew York (Guitar)
Dawn Upshaw (Soprano - Margarita Xirgu)
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At first blush, a new opera meditating on the life and death of Spanish poet/playwright Federico Garcia Lorca seems an unlikely choice to be a chart hit. However, Osvaldo Golijov's "Ainadamar" is precisely that . . . Amid his gorgeous lyrical lines and brilliantly colored orchestration, Golijov embroiders the guitar and cante jondo ("deep song") idioms of traditional flamenco with lilting Afro-Cuban grooves and hypnotic field recordings made in Chiapas, Mexico . . . Upshaw's enthusiasm seems to be shared by audiences, programmers and critics alike.
Concert Review / Anastasia Tsioulcas, Billboard (New York) / 10 June 2006
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No one writing music today crosses stylistic barriers with more lyrical bravado and sheer compositional nerve than Osvaldo Golijov.
New York Magazine / 18 December 2006
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. . . beautifully produced . . . beguiling sensuality and original, compelling drama that relates art to politically frightful times, distant from but not entirely unlike our own . . . so powerful a vocal and dramatic presence is Dawn Upshaw's Xirgu that we experience Lorca's death through her own. Golijov . . . has become famous for his Latin charisma, which is once more splashed all over this enormously appealing and highly theatrical score . . . Kelly O'Connor, a dark, alluring mezzo who was plucked from the USC student vocal program to create the role of Lorca, is a find. And the conductor, Robert Spano, gets lovingly inside the music.
Record Review / Mark Swed, Los Angeles Times / 14 May 2006